


Rumble Rumble Rattle Rattle

by rosewindow



Category: Snowpiercer (2013), Teen Wolf (TV)
Genre: Alternate Universe - Movie Fusion, Canon-Typical Violence, F/M, Gen, Minor Character Death
Language: English
Status: Completed
Published: 2014-09-14
Updated: 2014-09-14
Packaged: 2018-02-17 09:58:04
Rating: Mature
Warnings: Graphic Depictions Of Violence
Chapters: 1
Words: 2,369
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/2305622
Author URL: https://archiveofourown.org/users/rosewindow/pseuds/rosewindow
Summary: <blockquote class="userstuff">
              <p>"All Allison’s ever known is the Train, and she knows nearly the entire length of it. She’s peeked through the big door at the front and gotten a glimpse of the Engine, she’s explored every nook and cranny in the middle section, and she’s been all the way back to the security barracks. Her dad won’t let her go any farther back than that, but she will someday. Someday she’ll walk the entire length of the Train."</p>
            </blockquote>





	Rumble Rumble Rattle Rattle

**Author's Note:**

  * For [fandomdough](https://archiveofourown.org/users/fandomdough/gifts).



> Written for fandomdough for the Teen Wolf Rarepair Exchange Round 2. It was originally going to be a bonus gift, but it got away from me a little bit.
> 
> Betaed by the always amazing Jay.

All Allison’s ever known is the Train, and she knows nearly the entire length of it. She’s peeked through the big door at the front and gotten a glimpse of the Engine, she’s explored every nook and cranny in the middle section, and she’s been all the way back to the security barracks. Her dad won’t let her go any farther back than that, but she will someday. Someday she’ll walk the entire length of the Train.

Her dad nearly has. He helped Wilford design the security on the Train to keep everyone safe and happy in their sections. He still checks up on things, and sometimes he takes Allison with him. Like the time he took her back past the water supply section so she could watch the Train plowing through the snowbanks ahead, or in Year Seven when he and her friend Yona’s dad locked the door to the Engine Room for the final time.

Yona says it’s stupid to want to go to the tail section. “They eat people back there,” she whispers, while their teacher’s back is turned.

The boy who sits next to her scoffs. “If they ate people, why would Wilford let them stay on the Train?”

It’s at this point that the teacher hears them, and they all get told off for talking. Still, Allison is determined to go.

She gets her chance on her thirteenth birthday. There’s been some sort of trouble in the tail section - “See?” says Yona’s voice in her head - and her father has to go and help sort it out. She’s not sure if he forgets to tell her to wait farther back, or if he’s giving her a present, or if he’s trying to scare her, but he lets her follow him all the way to the quarantine section and the three locking gates that separate the tail section from the rest of the Train.

He kneels down next to her and looks her in the eye. “I’m not going to be able to get you to stay here, am I?”

Allison shakes her head.

“Alright; one door.”

“All the way.”

“Two doors.”

She hesitates, considering. “Two doors,” she agrees, shaking his hand.

The first door opens, and they step through. There are banks of security monitors watched by a few guards, but it looks about like the quarantine section. She pulls her dad forward so she can look through the grate of the second door. There are water tanks in the next part of the car, and the final door leading to the tail section. The grate rises up and they pass through to the next section. Her dad puts a hand on her shoulder. “Wait here.”

He moves forward, and Allison sneaks up to the doorjamb and peers through. The Tail Sectioners are lined up in the next car. For the first time, Allison wonders if Yona might have been right; they all look angry and a few of them have missing limbs.

The door starts to hiss closed, and despite her promise, she slips through.

\---

Nobody talks about boarding the Train, but Scott’s seen the pictures, he knows things were bad. There are no pictures of the next few months. The Painter lets Scott look through his sketchbooks on occasion, and Scott’s favorite drawing is the one of him and his mom.

“I was- I was inspired by paintings from the Old World,” the Painter says, as Scott runs his pudgy fingers over the image.

His mom has him cradled close to her chest and is looking down at him softly, but he’s looking straight out at the viewer, one hand curling around the blanket he’s wrapped up in.

“Why’d you draw me?” he asks.

The Painter hesitates, “You were the first baby who- the first baby to be born on the train.”

Scott is extremely proud of this fact.

“I was the first baby born on the train,” he says to Doc.

The man finishes splinting Curtis’s arm, and then says, “That’s nice. Painter tell you that?”

Scott nods, swinging his legs over the edge of the catwalk where he’s perched.

“He shouldn’t be telling you stories,” Curtis snaps.

“So it’s not true?” Scott asks, feeling tears start to prickle at the corners of his eyes.

“It is true,” Doc says, knocking Curtis’s ankle with his cane. “Curtis is just worried about Painter scaring you.”

“He’s not,” Scott chirps. He considers for a minute. “If I was the first baby born on the train, does that mean Edgar was born on Earth?”

Curtis’s face falls for a split second, and then his brows draw together in a frown, and Doc shakes his head slightly. “He was Scott, but people don’t like to talk about Earth, remember?”

Scott nods, chastened. He knows when to make himself scarce, so he darts off to find Stiles.

There are lots of adults on the train, and a growing number of little kids, but there are only four people who are around his age: Edgar, who’s a few years older and mostly hangs around Curtis, Grey, who’s a few years younger and doesn’t talk much, and Stiles. Stiles is Scott’s best friend.

His mom says Stiles is his worst enemy. There’s only so much trouble two boys can get into in thirteen years on a train, and Scott and Stiles have gotten into most of it. This might be the worst though.

The last revolt happened ages ago, when they were too young to really be aware of it. Stiles wants to help with this one. “We’re old enough,” he insists. “I think it’s bullshit that they keep us all trapped back here. I want to fight!”

His dad smacks him upside the head and threatens to tie him up at the very back of the train, until Stiles relents. But Scott knows his friend. They’re going to find a way to get into the fighting.

\---

Allison is good at going unnoticed, and anyway, everyone’s attention is on the huge, bearded man at the front of the Tail Sectioners’ line. His face is red and he’s being restrained by two other men. He’s missing half of his left arm, the sleeve of his jacket is sewn up to keep it from flapping, and Allison shivers at the sight.

She’s trying to stay near the door and out of sight of her father, but all of a sudden, there’s a surge of movement. The man breaks free of the other men's hold and launches himself at the line of security officers. A shot rings out, deafening in the iron boxcar, and the man staggers.

Allison’s never seen someone die before, and she can’t tear her eyes away. The man manages two more steps before he falls into the arms of the guard who shot him. With what must be his last burst of energy, he stabs a knife into the guard’s chest and twists. The two fall to the floor together.

There’s a moment of absolute stillness. Then, chaos.

Allison tries to dart for the gate, but it’s been sealed shut. The guards are being pressed back, so Allison wriggles free and finds a clear space along the side wall. Despite the guards’ guns, the Tail Sectioners are swarming forward, and soon Allison is surrounded by rioters. Someone grabs her arm and shoves her back, and then someone else picks her up bodily, and all of a sudden she’s staggering upright in the sleeping quarters of the tail section.

Three boys who look to be about her age are watching her.

“Hello!” says one.

“Are you from the front?” asks another.

“What the fuck is going on up there?” demands the third.

The large, black woman who was the last to have a hold on Allison gives all of them a sharp look and shoos them away. “Get out of here, all of you. This is no place for children.”

“Yes, Tanya,” they say in unison, and the first boy takes her hand and tugs Allison farther into the maze that is the tail section.

\---

The girl says her name is Allison, and she’s from the middle of the train, but she’s been to the front, and Scott is a little bit in love. She can’t decide whether she wants to explore or stay close to the fight so she can know what’s happening, and Scott wonders how she got here. Tanya will get them in real trouble if they stay too close though, so he takes her to see the infirmary, and the lift up to the Painter’s loft, and the bunk that he and Stiles share. Their bunk is about two thirds of the way to the ceiling and it’s on one of the major thoroughfares through the tail section, so they can see that the fighting has moved forward, into the quarantine section.

Allison fidgets, playing with the hem of her shirt, and Scott watches her carefully. She’s biting at her lip, and her eyes keep flicking up towards the common area and the sounds of fighting.

Scott nudges Stiles. “Go get the ball.” That will cheer Allison up.

While Stiles is gone, Scott leans in close to her. “You okay?”

She nods. “Yeah, it’s just a lot to process. Some birthday, huh?”

Scott frowns. “What’s a birthday?”

“You know, celebrating the day you were born? People give you presents and you eat cake.”

“What’s cake?”

Allison frowns and Scott feels like he’s let her down. “Well then, how do you know how old you are?”

“I’ve seen thirteen Bridge Days?” he tries, desperate to figure out what she means.

“Well that’s to mark the new year, but I guess it’s kind of the same thing…”

She trails off and they sit in awkward silence. Scott is torn between wanting Stiles to come back, and wanting to be with just Allison forever. It’s a new feeling, one he’s never really had reason to feel before. Tanya’s baby starts crying a few bunks away, interrupting his thoughts.

“What’s the front like?” he asks.

She describes car after car after car and Scott is blown away; he had no idea the train was that long. She has to explain a lot of things to him. Their water supplies are pretty limited in the tail section, so when she tells him about what she calls the ‘aquarium section,’ he laughs at first. “There’s not that much water in the whole, wide Train.” But his favorite thing to hear her talk about are the windows. Both of them are Train-babies, but he’s never even seen the Earth outside.

“Can you take me?” he asks eagerly. “I want to see.”

“Yeah! As soon as my dad gets back…” The smile slips off her face. “Scott,” she says hesitantly. “What if- what if he-”

“Hey.” Scott wraps an arm around her. “Everything will be alright,” he says, knowing even as he says it that’s it’s a promise he can’t really make. In his experience, people who go to the front do not come back.

\---

They haven’t been able to hear anything from the fight for a while, it’s moved too far forward. Allison is adamantly refusing to think about anything bad happening to her dad. He’s the best at his job; he’ll be okay. But then the casualties start arriving. Only a few of them are still alive.

Scott and Stiles immediately jump into action, and Allison trails along behind them. Everyone in the tail section seems to know everyone else, so the mood is very somber, but only a few people are openly weeping. Family, Allison guesses. She’s been to one funeral; her teacher passed away when Allison was ten, and Allison remembers that the woman’s daughter cried the hardest at the service.

A woman who is clearly Scott’s mom and a bald black man with one metal leg are seeing to those fighters who are still alive, and Scott goes to help them. Stiles goes over to where a group of people are - Allison gasps. They’re stripping the bodies, piling up clothes and shoes and what few weapons they have left on them, and Allison is appalled. But then, another group is wiping off the blood as best as they can and gathering them neatly together by a small hatch in the wall.

“They go back to join their family on Earth,” says a voice behind her.

Allison looks up at Scott’s mother. She has a splash of blood on her cheek, and a sad look in her eyes.

“You ought to go back to the front where you belong. That’ll be better for everyone.”

Allison looks past her at where Scott is wrapping a bandage around someone’s forearm. She looks back at Scott’s mom, and meets her eyes. “Will it?”

The woman looks away. “It’ll certainly be easier.”

They stand in silence and watch the bodies being lowered out of the Train into the freezing night. The last body to vanish into the darkness is the bearded man who was shot at the start of the riot. The gunshot wound on his forehead has been cleaned off and now looks like a third eye.

“Peter McGregor,” says Scott’s mom. “He was a hothead, but a good man.”

Scott has joined them. “Curtis says the fighting’s pretty much over. And there’s a man looking for you.”

“Dad!” Allison says excitedly, feeling a rush of relief.

She darts through the crowd, and is brought up short by the locked gate. It’s even more impenetrable looking from this side. “Hello?” she calls, pounding on the gate. “Hello?”

“They probably won’t be back for a few hours,” Scott says softly beside her.

“Oh.”

“Do you have to go?”

She turns to look at him, at his warm brown eyes, and his hopeful smile which reveals his dimples, and his light gold skin with a smear of blood across his forehead, and she wants to stay, she does, but. “I do. I can’t stay. My dad needs me.”

He nods in understanding. “Will I see you again?”

“I’m not leaving yet,” she says, deliberately misinterpreting.

“Yeah. Come on; Stiles found the ball.”

She takes his offered hand as the train rattles onwards.

END

 


End file.
